a reflection of systems

A Reflection of Systems

Megan E. GadientVisual SystemsSpring 2009Thomas Ockerse

Contents Project 1

Project 2

Project 3

Project 4

Project 1Patterning as System

R R R R R R

R R R R R R

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R

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RRR

The Unit and B+W Grid Variations

R R R

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The Unit and B+W Grid Variations

Color Variations

A REflECTiOn Jennie Chong, Megan Gadient, Jess Yan While creating the module, we realized that simple concepts worked better than complex ones. in the end we chose a module that was asymetrical in design but gave the impression of symmetry. This resulted in interesting and dynamic patterns when rearranged.

We were surprised at how diverse our patterns became. in some of the arrangements the patterns seemed to create larger images. Because of this, the perceived presence of the module dissapateed once the focus was on the larger picture. Visually we were perceiving the sum of the parts together instead of viewing them as separate entitites as it is described in gestalt theory.

Color helped to create another layer of hierarchy, highlighting different forms created in the pattern and even helping to reveal new patterns in the grid. furthermore, color contributed to depth, making some of the compositions appear more three-dimensional. This allowed dynamic shifts in the perception of a singular composition.

Project 2Pro/Portion as a System:The Golden Rectangle

1.618

1

Folding

I found it interesting how the two diagonals drawn created a series of quadrangles and triangles.

CutFoldLight Fold

To th

e m

an

w

ho

pursues h

is studies

in the proper w

ay,

all geometric

constructions,

all systems of num

bers,

all duly constituted melodic

progressions, the

single ordered scheme

of all celestial

revolutions,

should disclose themselves, and disclose

themselves they will, if, as i say, a man pursues

his studies aright with his mind’s eye

fixed on their single end. As such a man

reflects, he will receive the revelation

of a single bond of natural

intenconnection between

all these problems.

dynamicA quote fro

m Plato’s Epin

omis,

991-992

Text

The text helps to emphasize the spiral created in the shape.

To th

e m

an

who pursues h

is

studies in

the

proper way, all geom

etric constructions,

all systems of num

bers,

all duly constituted melodic

progressions, the

single ordered scheme

of all celestial

revolutions,

should disclose themselves, and disclose

themselves they will, if, as i say, a man pursues

his studies aright with his mind’s eye

fixed on their single end. As such a man

reflects, he will receive the revelation

of a single bond of natural

interconnection between

all these problems.

dynamicA quote fro

m Plato’s Epin

omis,

991-992

Image and Final Product

The image helps to emphasize the triangles on the one side and the quadrangles on the other. Also, the shell is employing the golden ratio to create the spiral, thus making it pertinent to the project.

Thoughts

Experimenting played an important role in this project. Even though most pople know what the Golden Ratio is, how many people are aware that it can be broken down into quadrangles and triangles? Furthermore, the Golden Ration seems like such a perfect thing, every shape seems to fit just so, however, through my folding process, I found that some edges didn’t quite meet up perfectly, which seemed a strange anomoly. The simple methodical folding process of this project allowed for such discoveries that left me quite surprised, to be honest. While this seemed to be more of an excercise in experi-mentation and thought process rather than a realistic application, it seems to me that it is just as, if not more, useful because one must be able to take risks and experiment in order to create something original.

Project 3A Kit of Parts:The Stamp System

01

The Stampsideas

usa mathemat

ica

spaceland

94ct usa

×94ct

94ctmathematica usa

94ct

mat

hem

atic

a

The Stampsfinals

27usa mathem

atic

a

42usa mathem

atic

a

72usa mathem

atic

a

94usa mathem

atic

a

0101

text indicating value of the stamp and degree

of the angle

25pt Avenir light

line indicating measure of angle; space of cut is

based on value of stamp (27¢ stamp has a 27˚ angle

cut out)

“usa mathematica” text runs around

inner rim of circle

10pt Avenir light

The Stampsfinals

27usa mathem

atic

a

fi rst day issue; providence; april 15, 2009

94usa mathem

atic

a


72usa mathem

atic

a

fi rst day issue; providence; ap

ril 15, 2009

Cancellation Stampideas and Application of final





ril 15, 2009


ril 15, 2009lines indicating angle measures of stamps are connected at a single point.

that cluster is then copied and rotat-ed four times and gathered together at the same point

text around circle8pt Avenir light

commemorative package usa postal service april 15 2009

The Commemorative Package

A note about the Mathematica Stamp Series

Math is, perhaps, the epitome of rationalization. And so, it makes perfect sense that the Mathematica Stamp Series would follow a path of rationalization. A simple process was designed that created all of the stamps: for each cost of the stamp, the corresponding angle is removed. This is why there is a 27˚ angle taken out of the 27¢ stamp, a 42˚ angle taken out of the 42¢ stamp, a 72˚ angle taken out of the 72¢ stamp, and a 94˚ angle taken out of the 94¢ stamp. The result is a simple and refined visual perspective that reveals what mathematics is in a unique way.

mathematica

27usa mathem

atic

a

94usa mathem

atic

a

72usa mathem

atic

a

42usa mathem

atic

a

The Design Pamphlet

ideas behind the mathematica series

Math is, perhaps, the epitome of rationalization. And so, it makes perfect sense that the Mathematica Stamp Series would follow a path of rationalization. A simple process was designed that created all of the stamps: for each cost of the stamp, the corresponding angle is removed. This is why there is a 27˚ angle taken out of the 27¢ stamp, a 42˚ angle taken out of the 42¢ stamp, a 72˚ angle taken out of the 72¢ stamp, and a 94˚ angle taken out of the 94¢ stamp. The result is a simple and refined visual perspective that reveals what mathematics is in a unique way.

the stamps

27usa mathem

atic

a

94usa mathem

atic

a

72usa mathem

atic

a

42usa mathem

atic

a

01usa mathem

atic

a

text indicating value of the stamp and degree of the angle25pt Avenir light

line indicating measure of angle; space of cut is based on value of stamp (27¢ stamp has a 27˚ angle cut out)

“usa mathematica” text runs around inner rim of circle10pt Avenir light


ril 15, 2009

lines indicating angle measures of stamps are connected at a single point.

that cluster is then copied and rotated four times and gathered together at the same point

text around circle8pt Avenir light


ril 15, 2009

the diagrams

The Design Pamphlet

designing the mathematica series

Designing the Mathematica Series, initially seems very simple. All the circles are 7p5 in diameter, and the text runs inside the circle and ends against the 0˚ point. for the stamps, simply remove the angle from the circle that cor-responds with the cost, starting from the 0˚ point and the center of the circle. As you can see, for instance, there is a 27˚ angle taken out of the 27¢ stamp, starting at the 0˚ mark and the center of the circle. Remember to mark the angle with a .6pt black line. Unfortunately, trouble starts to occur when you reach anything above about $1.80. in this case, i would simply stop making stamps and use the amounts created together to add up to the necessary amount. While this may seem like a cheap way out, it would instead enhance the idea because one would be able to see the different stamps beside each other which would show the different angles, thus enforcing the concept.

for the cancellation stamp, you start out simply by adding the .32pt angled line with the others—all the same length—in a fan-like cluster that meets at the same point (see below).

Then that figure is copy+pasted three more times, each time rotating it 90˚ to form the outline of a circle (see below).The circle has a diameter of 10p0. The text is set 1p0 outside of the circle and starts at the 120˚ point.

Color in the stamps is kept simple. Consider a color with an approximately 50% saturation, and do not use muted colors. The colors used for the four stamps are red, green, yellow, and blue, so possibilities for the next stamps would logically be orange and purple, followed by the tertiaries—all tinted as necessary to be similar saturations. The cancellation stamp is to be kept as a simple black line drawing.

The typeface for both the stamps and the cancellation stamp is Avenir light. The numbers on the stamps are 25pt, the text on the stamps is 10pt. On the cancellation stamp, the text is 10pt.

Over all this series is meant to represent math in a methodi-cal, subtle way. follow the same methodology all the way through, and in the end, you will have a cohesive collection of Mathematica stamps.

27usa mathem

atic

a

94usa mathem

atic

a



ril 15, 2009


ril 15, 2009

the cancellation stamp

72usa mathem

atic

a


ril 15, 2009

Thoughts

i’ve never worked as small as the size of the stamps, so this experience of scale was com-pletely new to me.

While dealing with the stamps, i knew that i wanted a very orderly method of creation, due to the size and concept. i also knew that i wanted to break away from the conventional stamp shape. That is how i came up with the idea of the angles.

for the cancellation stamp, i wanted to focus on the angle itself, since the stamp focused more on circle the angle was cut out of. So, i decided to use the line of the angles and rotated them in a circular fashion in order to create an interest-ing stamp that can be placed anywhere in rela-tion to the postage stamp.

The commemorative package and designer pamphlet were both in square forms to help echo the easily rec-ognizable geometry in the stamps, and followed a simple design pro-cess as well.

Project 4Chance as a System:lemondrops

When thinking about this project, i realized that

part of our relationship to chance involves our

exposure to it. The word exposure made me start

thinking about the weather, which we have no

control over. i started experimenting with

sun paper, and submitted it to the elements.

i started out simply wearing pieces of the paper

as documentation of the sun during a given

period of time.

After that experiment, i ended up blindly putting

lemon juice on them and setting them loose, then

gathered them at a random order.

Thoughts

i was surprised at the different results of this proj-ect. Sometimes the lemon juice came out lighter than the rest of the paper, other times darker. Some of the results seem pictoral, while others seem like simple splashes on paper. What i am most taken aback by, however, is the fact that all of them are interesting and aesthetically pleas-ing. The thought that pure chance could pro-duce such eye candy is revolutionary to me, and one i will remember forever.

Afterthoughts

Visual Systems forces you to think differently in a good way, but for the graphic design curriculum as a whole, its kind of the odd man out.

The above statement is neither a criticism nor critique of the course, but rather an observation. And that is what i feel the course, itself, is: an observation. it serves as a means to think about design differently, through exploration and observation. This way of designing allows for a non-linear path in creation. in other words, the discoveries made during the process cause the original idea to be rethought, and therefore, cause the final product to evolve to a new state.

i feel i have gained invaluable insight due to this course. i particularly enjoy the dynamic attitude portrayed in the Golden Rectangle project, as well as the simplistic playfulness in the stamps because they are so interesting and fun, but they were created from a thought-out system. it seems that i have never tied “interesting and fun” and “system” together before, but now that i have, i will remember it.

Colophon

Avenir light 15/20, 10/14Wausau Paper

Megan E. Gadient

A R

eflection of Systems

a reflection of systems

Documents

single end

thomas ockersecontents

single ordered scheme

dynamic patterns

golden ratio

new patterns

geometric constructions

melodic progressions